Tag: olivia colman

Well, that’s a wrap on the 91st edition of the Academy Awards. Like all years, the Oscars had some great moments, some not-so-great moments, and some hilarious quotes! Here are my reactions to some of the major highlights from the 2019 Academy Awards ceremony:

Best Moment: “Shallow” performance by Lady Gaga and Bradley Cooper

This performance was a knockout! Like most fans of A Star Is Born, I have listened to “Shallow” from the film’s soundtrack on repeat since I first saw the movie. The performance by Lady Gaga and Bradley Cooper was probably the moment I was most looking forward to last night, and it absolutely, unequivocally did not disappoint. I will admit, after watching that recent impromptu performance of “Shallow” together at a Lady Gaga concert in Vegas, I was a little worried about Cooper’s singing abilities come Oscar night – that ended up being a total non-issue, as Cooper’s performance of his portion of the song was pitch-perfect. Obviously Gaga knocked the song out of the park, and it was such a cool moment to see these two (who had some of the best on-screen chemistry in any movie last year) light it up on Hollywood’s biggest night.

Worst Moment: Green Book wins Best Picture

Talk about a letdown to end an otherwise enjoyable night celebrating cinema. Don’t get me wrong – I enjoyed Green Book. It was a good movie. A good movie. But the best movie of the year? Not a chance. Not a damn chance. The above tweet from The A.V. Club so perfectly sums up a Green Book win for Best Picture. This year, there were some wonderful movies nominated in the Best Picture category, and I would not have been unhappy whatsoever to see a win for The Favourite, A Star Is Born, Black Panther, Roma, or BlacKkKlansman – in fact, any one of those five films would be a deserving victor. You could sense it on the broadcast that the Dolby Theatre found the win underwhelming, too, as everything seemed deflated during the acceptance speech.

Most Surprising Moment: The hostless concept wasn’t that bad

Following the Kevin Hart controversy, viewers were understandably interested in how the Academy would execute its first hostless ceremony in exactly 30 years. Although the last Oscars without a host didn’t go down in the annals of history in a positive manner, I was pleasantly surprised with how good last night’s show was despite lacking a customary ringleader. First, instead of a monologue, the Oscars kicked off with an amazing musical performance of “We Will Rock You” and “We Are the Champions” by Queen and Adam Lambert – in a year where Bohemian Rhapsody won the most Oscars, it was a fitting start to the show. Then, we got a short definitely-not-a-monologue by definitely-not-hosts Maya Rudolph, Tina Fey, and Amy Poehler – although brief, it still provided a good taste of jokes that we are used to at the Oscars. All in all, I was surprised with how enjoyable the show was without a host.

Most Awkward Moment: Vice Acceptance speech for Best Makeup and Hairstyling

Every year at the Oscars, we get some incredibly eloquent and thought-provoking acceptance speeches that are emotionally affecting and inspirational – the one for Vice’s Best Makeup and Hairstyling win by Greg Cannom, Kate Biscoe, and Patricia Dehaney was not one of those speeches. It was downright painful. The three winners constantly talked over each other while reading off a piece of paper containing names of those they wanted to thank – Greg Cannom even quipped at one point when he was told by one of his co-winners to read a particular line from the “thank you” paper, “No, I already did.” It was bumbling and awkward, and many on Twitter dubbed it the worst acceptance speech of all time. Twitter ain’t wrong.

Biggest Upset: Olivia Colman wins Best Actress

When Olivia Colman’s name was called for Best Actress, I think I might have literally fist-pumped on my couch while exclaiming, “YES! SHE DID IT!” It was such a major moment because (1) I loved Colman’s performance in The Favourite and desperately wanted her to win, and (2) Glenn Close was a MAJOR frontrunner to take home the award. I had pretty much accepted that Close would win this award after taking home nearly all of the Best Actress trophies at the major pre-Oscars award shows. (And I wasn’t even mad about it, because I loved her in The Wife.) But if ever there was an upset at this year’s Oscars, I am incredibly thankful that it was in Colman’s favor.

Best Joke: (Tie) Peeing at the Grammys and Fyre Festival

In the aforementioned brief comedy opener by Maya Rudolph, Tina Fey, and Amy Poehler, the three women alternated sharing some quick jokes about the ceremony and the nominated movies/performances. There weren’t really any that didn’t hit, but there were a couple that definitely stood out as my favorites. First, Maya Rudolph looked at Bradley Cooper and said, “Don’t worry, Bradley, after four kids, I too have peed myself at the Grammys,” harkening back to Jackson Maine’s unfortunate moment on stage in A Star Is Born. Then, Tina Fey proclaimed to the crowd, “Everyone, look under your seats, you’re all getting one of those cheese sandwiches from the Fyre Festival!”

Line of the Night: From Rayka Zehtabchi during the acceptance speech for Best Documentary – Short Subject

Last night, the Oscar for Best Documentary – Short Subject went to “Period. End of Sentence.” The film is a very serious look at revolutionary efforts by women in India to not only improve feminine hygiene, but also to empower women. I have not yet seen this short film, but from all accounts, it is tremendous and meaningful. When its creators got on stage last night to give their acceptance speech, director Rayka Zehtabchi announced, “I’m not crying because I’m on my period. I can’t believe a film about menstruation just won an Oscar!” Zehtabchi’s response to winning an Oscar about a taboo subject was brilliant, funny, and full of emotion – definitely the line of the night.

The Favourite is an historical black comedy/drama directed by Yorgos Lanthimos, with a screenplay by Deborah Davis and Tony McNamara. The film is set in England in the early 18th century and follows the power struggle between Sarah Churchill, Duchess of Marlborough (Rachel Weisz) and Abigail Masham (Emma Stone) as they jockey for the attention and adoration of Queen Anne (Olivia Colman).

It may seem a bit too on the nose that my favorite movie from 2018 is called The Favourite – but here we are! This film has so much going for it, and all of its spectacular areas of filmmaking combined to create the best movie of the year. The ringleader is Yorgos Lanthimos, a Greek director that has mastered his own vision and voice in filmmaking, producing a uniquely idiosyncratic blend of black comedy and drama (seee.g., Dogtooth, The Lobster, and The Killing of a Sacred Deer). I personally enjoy Lanthimos’s distinctive style of filmmaking, and in The Favourite, he is definitely at his peak. Although Lanthimos did not write the script, his customary deadpan vision (built on a sense of ridiculousness and uneasiness) undoubtedly permeates the film. In a year filled with some great dark comedies (such The Death of Stalin and Thoroughbreds), Lanthimos’s The Favourite indisputably stands out as the finest.

One of the most noteworthy aspects of the movie is the team Lanthimos assembled to execute his eccentric vision. Deborah Davis and Tony McNamara wrote the screenplay, and my goodness, it was stellar. The dialogue is snappy and razor sharp in its ability to take hold of a scene. I knew the film was going to be fantastic in an early scene depicting Abigail riding in a packed carriage, which featured one creepy individual staring at her while pleasuring himself – it was so shockingly hilarious, and it definitely set the tone for many other great scenes/lines. One of my favorite scenes from the entire year featured a completely out-of-place dance medley from Joe Alwyn and Rachel Weisz as they utilized modern dance moves in the middle of a fairly stuffy 18th-century ball – it was sidesplitting!

The movie’s cinematography is also outstanding, and the unique way in which Robbie Ryan shot the film added to the film’s comical nature. Ryan’s style here featured lots of experimental shots with a fish-eye lens, which added a wonderful layer of surrealism to the landscape within the castle. Further, Ryan’s propensity to switch views/perspectives with sharp panning was exquisite.

In terms of acting, The Favourite features a forceful trio of Olivia Colman, Rachel Weisz, and Emma Stone. Colman’s portrayal of Queen Anne is flawless and perfectly captures the character’s proclivities for being both childishly needy and wickedly sinister. Queen Anne is an emotional rollercoaster, but we see that some of it is of her own doing – she propagates the battle between Sarah and Abigail for her affection, which ultimately leads to more depression for her character. Colman absolutely nailed her performance as Queen Anne.

Although Colman was impressive, I was even more taken with Stone’s and Weisz’s performances. Under Queen Anne’s roof, Weisz’s Sarah is Queen Anne’s established confidante and advisor, as well as her trusted lover, while Stone’s Abigail is the newcomer to the royal inner circle. These distinct roles have distinct personality traits associated with them, and each actress performs extraordinarily – Stone and Weisz were built for their respective characters. Abigail appears unassuming at first, but we quickly learn that she has an almost innate ability to balance that sense of innocence with disturbing cunningness – Stone thrives in this role, tapping into her comedic roots to bring Abigail’s amusingly menacing personality to life. On the other hand, Sarah finds herself having to desperately protect her position from Abigail, resorting to psychological mind games out of uncompromising devotion to Queen Anne. Weisz chillingly emotes steeliness in this role, and her portrayal of Sarah’s endless loyalty to Queen Anne is shrewdly memorable.

Another fantastic performance in The Favourite was Nicholas Hoult as Robert Harley, a member of Parliament who opposes some of Queen Anne’s economic policies. Harley is the embodiment of pretentiousness, and Hoult’s portrayal of the scheming politician was magnificent – it was an underrated part of the movie, and I was disappointed that Hoult wasn’t in greater contention for a nomination in the Best Supporting Actor category. The Favourite is ratedR for strong sexual content, nudity, and language.

The following is my Oscars ballot for this category, Best Actress in a Leading Role:

WINNER: Olivia Colman (The Favourite)

The Favourite is a film set in England in the early 18th century that follows the struggle between Sarah Churchill, Duchess of Marlborough (Rachel Weisz) and Abigail Masham (Emma Stone) as they jockey for the attention and adoration of Queen Anne (Olivia Colman). I previously mentioned in my Best Supporting Actress post that The Favourite is an amazing film that thrives in totality due to the award-worthy performances by each of its three central actresses – Colman, Weisz, and Stone – and Colman likely has the best chance of the three to upset the frontrunner in their respective Oscar categories. Colman bested Glenn Close for the BAFTA, and she has also won awards for Best Actress in a Comedy at both the Golden Globes and Screen Actors Guild Awards (although Close has won the same award in the Dramatic category at both of those latter two award shows). In The Favourite, the character of Queen Anne is both tragic and hilarious at the same time – her health is in a very volatile state, she flips back and forth between needy and irritable, and she maintains 17 pet rabbits that sorrowfully represent each of her unsuccessful pregnancies. Despite the challenge of such an unstable character, Colman executes the performance masterfully. She nails the portrayal of Queen Anne’s surreal outlandishness and sublimely commands her position as the object of both Sarah’s and Abigail’s affection. Olivia Colman delivered one of my favorite acting performances of the entire year, and I am cautiously hopeful that she can eke out a surprise Oscar win this Sunday.

2. Glenn Close (The Wife)

In The Wife, Glenn Close plays Joan Castleman, the wife of a famous novelist, Joseph Castleman (Jonathan Pryce). The film begins with the news that Joseph’s prominent writing career has earned him the Nobel Prize in Literature, and the Castlemans get the distinct honor of traveling to Sweden for the ceremony. By all accounts, Joan appears to have long ago given up her own writing career to play the role of dutiful wife, a position in the marriage that is patently secondary to that of her husband. However, as the film progresses, it becomes abundantly clear that the power in this relationship (and the true nature of Joseph’s acclaimed career) may not be all that meets the eye. The 71-year-old Close has led a long and illustrious acting career, but her performance as Joan may just be one of her very greatest. At the start of the film, Joan’s nature seems very meek and straightforward, but it is only as the story continues to slowly unfold that we discover that she really wields an immense amount of significance in the overall success of Joseph’s writing career. Close’s portrayal of Joan is poised and dexterous, and Close carefully progresses toward the unveiling of Joan’s emotional tipping point with an unbelievably striking subtlety that is award-worthy in and of itself. Prior to this nomination, Close had been nominated six times for acting Oscars with a whopping zero wins. However, that is all (most likely) about to change – Close is the clear frontrunner for the Academy Award and has already locked in key wins at the Screen Actors Guild Awards, Critics’ Choice Movie Awards, and the Golden Globes. Although I loved Colman’s performance better, it will not make me upset at all to see Close finally take home the Oscar gold this Sunday.

3. Lady Gaga (A Star Is Born)

In A Star Is Born, Lady Gaga portrays Ally, an aspiring singer/songwriter whose dreams of making it big in the industry start to bloom after she meets and falls in love with Jackson Maine (Bradley Cooper), a famous country musician. Ever since she broke onto the music scene in 2008 with back-to-back chart-topping singles “Just Dance” and “Poker Face,” Lady Gaga (born Stefani Joanne Angelina Germanotta) has evolved into one of the biggest and most recognizable pop stars on the planet. Recently, she started expanding her career into acting (I have heard she is very solid in American Horror Story), which never seemed like much of a stretch to me because the essence of Gaga’s strength as a musician is her proficiency as a performer. And in A Star Is Born, she has seamlessly transitioned into one of the most impressive up-and-coming actors in all of cinema – this was definitely a career-altering role. Ally is a character with a lot of vulnerabilities who, over the course of the film, achieves a greater sense of confidence in herself, and Gaga effortlessly portrays Ally’s emotional complexities to perfection. If it were not for Olivia Colman and Glenn Close delivering two career-defining performances, Gaga might have seen herself taking home the Oscar.

4. Yalitza Aparicio (Roma)

Set in the early 1970s in the Colonia Roma district of Mexico City, Roma stars Yalitza Aparicio as Cleodegaria “Cleo” Gutiérrez, a domestic worker who lives with and works for a prominent family. Aparicio’s journey to the Oscars is unbelievable – prior to auditioning for the role of Cleo, she had planned to become a preschool teacher in Mexico. In fact, before Roma, Aparicio had never acted professionally in her life. (This harkens back memories of Barkhad Abdi, who, for his debut film role in Captain Phillips, earned a BAFTA win and an Oscar nomination for Best Supporting Actor.) The fact that Aparicio was not previously an actress makes her performance in Roma that much more outstanding and noteworthy. Throughout the film, Cleo experiences a variety of events that lead to a broad range of emotions and feelings – she oscillates between happiness, sadness, loss, helplessness, and hopefulness. Aparicio’s nuanced performance was incredibly authentic and beautiful.

5. Melissa McCarthy (Can You Ever Forgive Me?)

Can You Ever Forgive Me? is a biopic starring Melissa McCarthy as the real-life, down-on-her-luck biographer Lee Israel, and it follows her attempt to revitalize her writing career by forging letters by famous celebrities and selling them for vast amounts of money. Off the top of my head, I am not confident I can think of a single time I have watched Melissa McCarthy in a sincerely dramatic role – obviously her bread and butter has always been comedies. However, if this film is any indication, McCarthy should really consider taking on more serious roles – she is absolutely spectacular here. Lee Israel is depicted as a callously cynical and insufferable woman, and McCarthy perfectly portrays these characteristics with the clever wit that she has lent to previous comedic performances. But in Israel’s darkest moments (such as when she discovers that her cat has died or as the walls come crashing down around her fraudulent scheme), McCarthy shines on an emotionally empathetic level. This was a really enjoyable film, and it was great to see McCarthy stake her claim in a new genre.

Archives

Archives

Advertisements

Follow The Reel Countdown via Email

Enter your email address to follow this blog and receive notifications of new posts by email.